BS ձ ‘Rashomon BS - š * OZU, Mizoguchi’ › BS߱ Կ† S › form ձ/ Ž c ŽS BS ߿ S › -- ›, ›Ž Content (Rashomon’ M ſ Š ձ ձ — + ߱ M S › motive -- ‘‘ he suggests the environment, the context, of every action. One of the effects of this is that Kurusawas world is a private one, that is uniquely his own ( Japanese Cinema, Donald Richie ) ߱ tradition living reality, X Ž ɱ › ߱ſ • › , / › ձ տ qS ŏ տ— տ Ͽ /, Š •߱ S ˥— Ž ߿ ձ / M S ɱ ˝ • BS -- ɿ - 19— ‘Western’ › S -- ſM , տ S ’ Ž , therme’ h -- › › ›߱ ұh • ˦ › —----------- - ձ Negativve š ۿ ›-- ™ - Pilgrims Progress ™ ձ= տS ߱ M Š, Š Ž ձ ۿ › Կ Rashomon Š Rashomon ‘Ryunosuke Akutagawa’ ſ Š •In a grove Rashomon) M ſ Š, ›ԿM ‘‘ In a grove -- Š j S ſ -- ɱ S --•1— ߱ •wood cutter) •2— X •3— ſ •4— X, •5— •6— --•7— -- ձR߱ B Medium’ - P Wakasa B Tajomaru -- P + ›X ɱ Observer S ձR h -- M Passion ›S Killing. Z Š DZ Rashomon - ? ߿ š Rashomon ձ › Kyoto M gave ‘‘106 feet wide and 26 feet deep. And was topoed with a ride-pole. Its stone wall rose 75 feet high. Kyoto š™L 789 ԩ†s gate c } Kyoto’ / / Gate h ձD ձ Rashomon gate - Š q Կ† h ӿ˥, ӿh-ձ& Kyoto iœ, ձ ߱ ձ߱ ұ Š ߱ Š ߿ Rashomon ɿ ߿ X ߿ (Wig) X , q S U ұ ұ ɿ ſ X ߱h h g߱ --Unknowing and unknown. ſ Š Observation Observat-ion- ձR›Կ -- ‘‘He was brilliand, sensitive, cynical, neurotic . his early suicide only hightens the protrait of a modern japan-ese intellectual, the double victim of an unsympathetic society and a split culture In a grove Passion, h, Rashomon Ž ›Ž š Rashomon h Rashomon ™ M , • — ‘In a grove Կ† ԿM ձſ ˩†˜ Ѧ ձ ›S c ұ Š › - Š߱ ߱ Epilogue Š ſ ұ 榤 ſ Š / ‘In a grove Š X S - S ߿ dimension › + š ߿ & ›߱ Š߱ V •IKIRU h Wantonbe / S S ǿ Ž— Rashomon Š Ž Moral Values M տ M ſ ߏ Rashomon X ߱h h B ߱ Motive, B ұ- ձ Rashomon Š ɿ Identical S Motive -- ‘‘He shows character by presenting what motivates the character (Donald Richie-Page-197) c Akutagawa ɱ Š Š վ œDZ ձ Russian classics ™ ձ ձBi film development ձ XԿ A tree grows up not down the stocks must be from the base upwards :- (Our films, their films by Satyajit Roy) Š Eastern style. Š& ɱ š S Progress տ Model + › Կ†- › •Կ† › M -- I leke extremes because I find them most alive : S Roy- Page- 183) Wood cutter, ߱ ձ ſ c ߱ spot c Rashomon gage. wood cutter Š ™ Š& S ұ ›S - T™ › Š q 1 Wood cutter / ۿ / ›߱ ɱ ɱ ߱ ߱ Ž ۿ , ұ h-- S , Ÿ ߿& S ɿ ߏ c ߿ Ÿ ! ձ contrast -- hB-ϿW h- h h B-- ɱ ɱ տ h-- ‘ ձ T ձ g’ • ձR —’ Ÿ տš Juxtapposition / q climax •ɿœDZ ›Ze ߏ IKIRU B屿 wantonbe h - seven Samurai ߿‡ X h h ߿— -- B - h ұ -- տɿM Ѧ ձ-- ұ g š •Toshiro Mifune- տ— ſ ߱ - - h ’ a h h - ձ - ߱ - ™ ›M - ߱h j ſ h ɱ › - ߱ / ſ ŏ X X & ձS-›ձS-߱-Position - ™ X ߿ 汿 ձR›߱ X ߱M ձ , š ɱ h U ™ ߱& ɱ տ, Reasonable. -- Ž B ‘߱ h g ’ ߱ - - վ Կ† ™L ɱ › -- š ſ ` -- - # - S - ӿ DZ ›߱ Կ†, : ſ ұ Witchcraft. The extremely Powerful Scence -- ձ ɱ ұ߱ -- ձ h -- ߱h Medium, , -- ߱h h -- վ detailing š g߱ a / - ɱ › ɱ # -- a ſ ձRɱ , š g߱ g߱ Ž ›Ž ߱ ձ ۿ Š Š ߿ , Š ſ Š q ߱ , ձ - ұ - hұ -- ձ •bandit) , h ߱ | ™ - -- / M ’ a gM ձ -- g M , ߿ ſ -- U ۿ addition Š š - Š y ™ ձ U Character building •‘‘ձ P h q ߿ ›Ÿ ﱿ ’’ ձR — iœM ™L La -- ұ traditional ̏ M h ߱ , + ǿ ŏ • — ߱ M X Š i Կ†߱ -- Š ɱ Ž / Š& › B Ž & Akutagawa Observation- › Ž c = T œԿ ߱ ձ ձ Bi After all, the film was about amorality, one of the strongest animal characteris (Richie-Page 230) › S- ߱ š զ -- Moral values Conflict Evil ŽS ӿ߱ Negative c ɱ resons ұ • ɱ † reasons — ձ Š bandit S ™ S& S ŏ ǿ h Mӿ Passsion Ž ™ ձBi ‚ տ™Q > a - ߱ h ߱ ۿ ߱Q Ž / ߱ ŏ Possesivenes g߱ Akutagawa U ձ ›Ž , ձR š g߱ ™L ձ - Passion-darkness – killling - Atomic Darkness ‘ g߱ ߱ q ߱ -• ſ ſ — п -- ’ ձ Š& Moral values ߱ •Rashomon Š ձ h— type class š & › M ߏ Ǧ ӿ c ߿ q ߱i s U q M ձDZ ™ ձ Œ Ž› q ſ ߱ ߱ , - ™ ձ ձ h }™L -- --You have, I think, restored my faith in Humanity. Conclusion c 榤 Akutagawa observation S ›/ ™L - I wanted to return to the simple pictorial values of the silent picture- It is an attempt to bring back the lost beauty of the film ( Rechie Page 229 ). q › Ž › - ɱ- - i ձDZ , ˩† O Negative element c ۿ c Positeve force B › -- y #; • & X œ ߱ ձ M& տ 䱿 ձ — ™L -- ߱ ŽJ , տ} ۿ g߱ ߱ -- ձj ձ , -- տS ߿ › ձ Passions Passions ߿ ɱ ߿ dark Passions Passion, Killing & q iœ ‘‘It is compassion which, in a way rights all wrongs ; amid a chaos of relative values it is only absolute-
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